Part I. Answer briefly but specifically. A phrase or sentence will do in each case. Do not waste time loading your response with information not asked for.

1. What were the two most important elements, not in the original short story, that were added to the screenplay of Rear Window?

2. The bamboo curtain of Jeff’s window is raised twice and lowered twice during Rear Window. One lowering and raising are done by Lisa. John Belton notes that the other two instances are “non-diagetic.” Who performs this raising and lowering of the curtain?

3. According to Elise Lemire and Susan Street, Rear Window contrasts male phallic power with feminine intuition. The main symbol of the phallus is Jeff’s large camera lens. What object symbolically represents its feminine counterpart?

4. At the first appearance of Lisa in Rear Window, after kissing Jeff she recites her name (“Lisa. Carol. Fremont.”) What action does she perform each time she says one of her names?

5. The ‘second-generation’ feminist critic Tania Modleski disagreed with earlier feminist criticisms of Rear Window. Modleski points especially to a specific scene where Lisa hears the songwriter’s composition and reacts to it. According to Modleski, why does this scene contradict earlier feminist claims about the movie’s point of view?

6. The wordless tour around Jeff’s apartment near the beginning of Rear Window ends with a fashion photograph (evidently taken by Jeff) on the cover of Life Magazine. We also see the same photo just before. What’s unusual about the photo this first time we see it?

7. When Miss Torso’s boyfriend Stanley returns from the Army, what do we hear him asking her?

8. What character appeared in the scene of Rear Window that Hitchcock shot but later eliminated? (If you don’t recall the name, describe the character.)

9. Why was Thelma Ritter’s salary for acting in Rear Window more than James Stewart’s?

10. According to Michel Chion, at what key story-moment in Rear Window do we first see the neighbors close up and in normal perspective?

Part II. Briefly identify each as they relate to Rear Window. A single phrase or sentence will be enough if it is specific.

1. John Michael Hayes

2. Edith Head

3. David Selznick

4. Cornell Woolrich

5. Laura Mulvey

Part III. Identify who makes each of the following statements in Rear Window. [Give name or specific description.] Identify only: you do not need to identify the circumstances or discuss.

1. “You don’t know the meaning of the word ‘neighbors.’ Neighbors like each other, speak to each other, care about each other. But none of you do.”

2. “Preview of coming attractions.”

3. Where does a man get the inspiration to write a song like that? . . . I wish I could be creative.”

4. “What do you want? . . . Say something. . . . Say something! Tell me what you want.”

5. “That feminine intuition stuff sells magazines, but in real life it’s still a fairy tale.”

Part IV. On your answer sheet, circle the letter that corresponds to the best answer. If you change an answer, be sure that your final answer is clear:

1. The first extended look at Miss Torso shows her topless, bending over in her underwear. The Production Code censors objected to this scene. How did Hitchcock get around the objection?

a. He claimed that Jeff’s and Lisa’s later discussion of her provided an appropriately disapproving moral perspective.

b. He argued that she was too far away from the camera to be provocative.

c. He said he would reshoot it, then “forgot.”

d. He reshot it but only changed the color of her lingerie.

e. He arranged a lunch where the actress playing Miss Torso charmed the Production Code head.

2. What are the first spoken words heard in Rear Window?

a. “New York State penalty for a Peeping Tom is 60 days in the workhouse.”

b. “It’s called Hunger.”

c. ”Congratulations, Jeff.”

d. “Men, are you over 40?”

e. “If you don’t get me out of this plaster cocoon I’m gonna do something drastic.”

3. In Hitchcock’s cameo appearance in Rear Window, what object is he fiddling with?

a. a camera

b. a radio

c. a clock

d. the dog’s basket

e. an umbrella

4. The “New Look” was

a. a fashion style.

b. a magazine aimed at single men.

c. a technique of film lighting for color.

d. the title of the song the songwriter is composing.

e. what Hitchcock called his profile after dieting.

5. What does John Belton mean by calling Rear Window a “testament film”?

a. It depicts the Catholic doctrine of the sin of omission.

b. The single set allowed the film to be shot in chronological order.

c. The film is about looking, with Jeff as a surrogate for the spectator.

d. It is a drama of catharsis, purging desires by acting them out.

e. It serves as the director’s ultimate statement about his craft.

6. The psychoanalytical doctrine of “ideal ego” is used by feminists to explain:

a. what feminists would accept as a “happy ending.”

b. male identification with a movie protagonist.

c. female resistance toward a movie protagonist.

d. the Oedipal complex.

e. fetishism.

7. Robert Capa was

a. the screenwriter of Rear Window.

b. author of the original story “Rear Window.”

c. the murderer on whom the story was based.

d. a photographer.

e. Grace Kelly’s lover.

8. The closest synonym for the concept of scopophilia is:

a. voyeurism.

b. castration anxiety.

c. phallus.

d. catharsis.

e. mirror stage.

9. According to one critic, when Lisa speaks to Jeff of “something too dreadful to mention,” what specific concern of the 1950s is being indirectly referred to?

a. pregnancy outside of marriage

b. latent homosexuality

c. Playboy magazine

d. the atomic bomb

e. domestic surveillance

10. What is “the fourth wall” in Rear Window?

a. the sliver of street seen between buildings.

b. the wall containing newlyweds’ window.

c. the location of Jeff’s unseen bedroom.

d. the courtyard, see from Jeff’s apartment.

e. the wall of Jeff’s apartment, seen from the courtyard.

EXTRA CREDIT:

1. What is the McGuffin in Rear Window?

2. Who was Anita Colby?